(Pictured: Cast & Crew of Closer. Photo Credit: Ross Davidson.)
There are moments early in Closer when you may find yourself wondering where it’s all going. Patrick Marber’s provocative examination of love, desire, and emotional brutality opens at a measured pace, and I’ll admit that at first, I wasn’t convinced. The stripped-down staging and deliberate slowness made me question whether this production would land for me at all. But somewhere around the midpoint of the first act, something shifted, and from there on, I was completely engrossed.
Directed by Dave Semple and produced by Andrea Bennett, Closer unfolds in the small black box space at the Palace Theatre’s Procunier Hall, placing the audience uncomfortably close to the emotional wreckage on stage. Starring Noah Englmann as Dan, Scarlett Allen as Alice, Alex Pinter as Larry, and Meghan Brown as Anna, the production strips away nearly everything except the actors themselves and ultimately proves it doesn’t need anything more.
(Pictured: Closer Cast – Scarlett Allen, Noah Englmann, Meghan Brown, and Alex Pinter. Photo Credit: Ross Davidson.)
The performances across the board are deeply believable, but special recognition must go to the two female roles. Scarlett Allen gives a brave, uncompromising performance as Alice. Allen gives herself fully to the role, including moments of near-total nudity that could easily feel gratuitous or awkward in lesser hands. Instead, she owns the space with absolute confidence. Never hesitant, never insecure. Her fearlessness makes Alice feel raw, real, and emotionally dangerous, which is exactly what the role demands.
(Pictured: Scarlett Allen as Alice. Photo Credit: Ross Davidson.)
Meghan Brown’s Anna is equally compelling, offering a performance layered with vulnerability, restraint, and quiet devastation. I found myself hanging on her every word and movement, forgetting for a moment that this was a play and not a moment of voyeurism. Together, Allen and Brown anchor the production with emotional authenticity, elevating every scene they’re in. While Englmann and Pinter deliver strong, grounded performances as Dan and Larry, it’s the women who truly drive the emotional core of the play.
(Pictured: Meghan Brown as Anna. Photo Credit: Ross Davidson.)
Closer is, at its heart, an unflinching look at relationships and the many contradictions of love. I grew up on the verse “love is patient, love is kind,” but this play reminds us that love can also be messy, cruel, obsessive, and brutal. Marber doesn’t soften any of it, and this production leans fully into those truths. Love here is exposed for all its ugliness and beauty, its tenderness and violence, and the result in this production is as uncomfortable as it is compelling.
The program describes the show as “stripped down, grown up, and not for the faint of heart,” with a strong viewer discretion warning—and that description is absolutely accurate. This is not a play for anyone inclined to clutch their pearls. If explicit language, sexual frankness, or emotional cruelty make you uncomfortable, this likely isn’t the show for you. But if you’re willing to sit with a little bit of discomfort, Closerwill reward you with a powerful exploration of love, loss, and heartbreak.
One of my initial hesitations was the minimalist staging. There are no traditional props and only sound effects and physical suggestion. At first, I found myself distracted, wondering why actual props weren’t used at all. But as the play progressed, it became clear: they don’t need them. The actors are the props. Their physicality, timing, and emotional commitment are so precise that you stop noticing what’s missing. Your focus narrows entirely to the characters and their unravelling relationships, which is exactly where it should be.
(Pictured: Set of Closer. Photo Credit: Ross Davidson.)
By the end of the two-hour production, the bare stage feels not like a limitation but a strength. The production is perfectly staged and brilliantly acted, proving that when performances are this strong, nothing else is necessary.
Despite my early doubts, I left thoroughly impressed and genuinely moved. Closeris challenging, bold, and beautifully performed. If you’re looking for theatre that doesn’t shy away from taking emotional risks, do yourself a favour and catch this production before it closes on February 15th.
IF YOU GO:
What: Closer, by Patrick Marber
When: February 5th-15th, 2026
Where: Procunier Hall at the Palace Theatre, 710 Dundas St, London Ontario
Prepared with Files from the St. Marys Community Players.
St. Marys Community Players have announced their 2026 Season Lineup: Marc Camoletti’s BOEING BOEING and the beloved Peanuts Musical You’re a Good Man, Charlie Brown.
“Our 52nd season lineup of productions will offer a vibrant pairing of plays that celebrates the full spectrum of theatrical joy—combining the dizzying precision of a classic farce with the warmth, wit, and gentle introspection of a beloved musical,” says Greg George, the company’s Marketing and Communications coordinator.
BOEING BOEING: A High-Flying Comedy.
Opening the 2026 season in April, the St. Marys Community Players present the delightful farce that has captivated audiences worldwide. Written by Marc Camoletti and translated by Beverley Cross and Francis Evans, this fast-paced production chronicles the misadventures of Bernard, a swinging bachelor in 1960s Paris. Bernard’s elaborate scheme of juggling three fiancées – all airline hostesses with staggered layovers – takes a turbulent turn, threatening to send his plans crashing.
Directed by Ralph Small and produced by Stephen Brockwell and Read Paxton, BOEING BOEING features door-slamming, smart dialogue, and hilarious situations, guaranteeing nonstop laughter and entertainment.
Performance Dates:
April 24 to May 9, 2026, Town Hall Theatre, St. Marys, ON.
You’re a Good Man, Charlie Brown: A Musical for All Ages.
Happiness is great musical theatre. With charm, wit and heart, You’re A Good Man, Charlie Brown explores life through the eyes of Charlie Brown and his friends in the Peanuts gang. This revue of songs and vignettes, based on the beloved Charles Schulz comic strip, captures childhood worries, quiet hopes, and the universal desire to belong and be understood. Musical numbers include “My Blanket and Me,” “The Kite,” “The Baseball Game,” “Little Known Facts,” “Suppertime” and “Happiness.” Guaranteed to please audiences of all ages.
Performance Dates:
October 22 to November 7, Town Hall Theatre, St. Marys, ON.
Tickets for the 2026 Season are available through the St. Marys Community Players website www.stmaryscommunityplayers.ca beginning in early March or locally at Troyer’s Spices in Downtown St. Marys, 110 Queen St. E. Phone: (226) 661-8777.
In a recent conversation I had with London playwright, Jason Rip, he stated that he writes plays for “the precious few who prefer their theatre to be hard-hitting social commentary instead of song and dance.”
Actor/director Dave Semple mentioned to me in an interview last year that he likes “stories that are dark and have a good depth of substance to them.”
So, what is theatre to a viewing audience?
Should its goal be to enlighten or enrich? Do you prefer leaving a theatrical performance with a smile and a sense of contentment rather than feeling troubled by what you just saw on stage? What are the limits of theatrical performances? What should be performed and spoken on stage?
Dave Semple is directing Patrick Marber’s Closer, which will be performed on the Procunier Hall stage at the Palace Theatre from February 5 to 15. Marber’s play offers a lens into the rawness of the human psyche as it defines love, trust, and betrayal.
Getting a whiff of the oncoming production, The London Free Press warned the viewing audience that the play, “may feature nude actors and scenes depicting sexuality, spurring the addition of an intimacy coach to the crew.” Is press like this a help or a hindrance?
I recently had the opportunity to view a rehearsal and talk with the cast and crew.
Dave Semple, with over forty years of experience as a drama teacher, actor, and director, explained why he wanted to undertake such a project.
“I don’t think there are always happy endings in lives and relationships, and I wanted to direct a play which was representative of something real, not the usual perfect relationships and happy endings that we usually see in theatre.”
He adds, ‘Despite the characters’ flaws and how they treat each other, what we want you to discover is that there are moments of redemption for all of them. We tried to build that into the story. The play is about the mistakes we make in relationships. Everyone says that they are looking for love, but ‘love’ for everyone is different.”
(Pictured: Sarah Taylor and Dave Semple. Photo Credit: J. Bruce Parker.)
Semple is assisted by Sarah Taylor, a teacher and actress who was brought in as an “Intimacy Director” for the production.
I must admit, this role in a theatre production is new to me, so a quick Google search helped define it. Better yet, I asked Sarah to interpret her role.
“The role of Intimacy Director has been around for some time, but certainly more prominent than it used to be. It is someone who handles sensitive stage moments; things that may need finesse or support. The director sees the big picture, but the Intimacy Director partners with the director to be the bridge between them and the actors,” she says. “We have to look at the actor’s comfort and what the director wants the actor to do in terms of intimacy, understanding the actors’ boundaries and finding a way to honour both. I can be the voice of the actor and still have a relationship with the director to make sure that their vision is maintained.”
I asked Sarah what she wants the audience to walk away with at the play’s end.
“I want the audience to experience vulnerability,” says Sarah. “There is a vulnerability in this play that sees humanity in a 360-degree view. I really believe this is something important for the audience to engage with.”
(Pictured: Set of Closer. Photo Credit: Palace Theatre.)
The production is laid out on a sparse set. Just a black curtain as a backdrop and a few chairs centre stage. With only four actors performing, dialogue has to propel the story deeply and compellingly.
Semple has carefully assembled his cast with the likes of Alex Pinter (Larry), Meghan Brown (Anna), Noah Englmann (Dan), and Scarlett Allen (Alice).
(Pictured: Cast of Closer – Alex Pinter, Noah Englmann, Scarlett Allen, and Meghan Brown. Photo Credit:J. Bruce Parker.)
I asked each actor to define their character:
Alex (Larry) – “My character is generally an honest person, but I think he is driven. Larry wants to have good, constant sex, but he mistakes sex for love.”
Meghan (Anna) – “Anna is someone who thinks she has her life together and thinks she knows what she want but she tends to self-sabotage. She is not comfortable with being comfortable, especially with love, and this is where desire takes over.”
Noah (Dan) – “His incessant need for the truth gets in the way of love. At the end of the play, I don’t think Dan believes in love. In my presentation of Dan, he doesn’t question his belief in love at the end of the play. He keeps seeing the pattern happening over and over, and he is starting to waver in his belief in love.”
Scarlett (Alice) – “I am empathic towards Alice. The story is about people looking for connections, and this is all she wants, and in searching for it, she is always pushing people away. She tries to make herself into something people want, so she totally makes herself up. She likes to create a persona, and that is probably why she becomes a stripper.”
Closer brings together four people whose lives collide, intertwine and subsequently collapse. The mood is edgy, with dialogue that is muscular, tough, and brutal. There is a blurred line between love and lust, and sex is used as currency as well as a form of deception and vengeance.
Larry tells us, “What’s so great about the truth? Try lying for a change. It’s the currency of the world.”
Alice reiterates by saying, “Lying is the most fun a girl can have without taking her clothes off.”
There is humour in this story, but it’s brief and fragmented and never diffuses the ongoing tension between the characters.
Closer holds up a mirror to the audience in portraying the bold, honest and unsavoury aspects of relationships. It is the right fit for Procunier Hall and the right fit for those who appreciate a more visceral form of theatre.
IF YOU GO:
What: Patrick Marber’s Closer, directed by Dave Semple.
Where: Procunier Hall at the Palace Theatre, 710 Dundas St., London, ON.
The Grand Theatre’s production of Primary Trust, written by Pulitzer Prize–winning playwright Eboni Booth, is one of those plays that sneaks up on you – and it just might be my favourite play so far this season. Directed by Cherissa Richards, Primary Trust is funny, tender, and deeply touching, exploring themes of loneliness, loss, and hope without feeling heavy-handed. What begins as a modest, intimate story – complete with Kenneth directly addressing the audience – slowly evolves into something much larger and more emotionally resonant.
(Pictured: Durae McFarlane as Kenneth. Photo: Dahlia Katz.)
Durae McFarlane portrays Kenneth with such honesty and openness that he immediately had me leaning in. His story takes you on a full emotional journey, moving effortlessly between humour, vulnerability, and moments of genuine sadness. I found myself completely absorbed, hanging on his every word, and by the end of the show, wishing for nothing more than to give him a hug. Kenneth’s experience feels deeply personal, yet widely relatable, which is where this play finds much of its power.
(Pictured: Peter N. Bailey, Durae McFarlane, Ryan Hollyman, and Khadijah Roberts-Abdullah. Photo: Dahlia Katz.)
The supporting cast adds warmth, texture, and balance throughout the production. Peter N. Bailey brings calm reassurance as Kenneth’s best friend, Bert, while Ryan Hollyman offers humour and charm as Clay/Sam/Bartender, transitioning seamlessly between each personality. Khadijah Roberts-Abdullah is engaging and natural as Corinna, providing moments of humour, compassion and emotional grounding. Lawrence Libor, as the musician, weaves well-timed music into the storytelling organically enhancing emotional shifts without drawing attention away from the narrative. The performances feel believable and connected, carrying the audience through laughter, reflection, and quiet heartbreak. Around me, the crowd responded thoughtfully – laughing often, sitting at times in contemplative silence, and clearly moved by Kenneth’s journey.
(Pictured: Primary Trust Set Design by Julie Fox. Photo: Dahlia Katz.)
Julie Fox’s set design supports the story beautifully, creating a space that reflects Kenneth’s inner world while allowing the play to move smoothly between moments of memory, reality, and imagination. Under Cherissa Richards’ direction and the assistant direction of Vanessa Spence, the production maintains a gentle but steady rhythm that allows the emotional moments to land naturally, without being rushed or overstated.
Primary Trust explores themes of grief, loneliness, friendship, and the courage it takes to reach out for connection, particularly when doing so might feel risky or unfamiliar to us. By the final moments, Kenneth’s journey feels personal and earned, and the audience leaves the theatre reflective, moved, and reminded of how important even the smallest acts of human connection can be. This is a powerful story movingly brought to life and is one not to be missed at the Grand Theatre this season.
IF YOU GO:
What: Primary Trust by Eboni Booth, directed by Cherissa Richards
Where: Spriet Stage at the Grand Theatre, London, Ontario
Ebobi Booth’s Pulitzer Prize-winning play, Primary Trust, comes to the Grand Theatre’s Spriet Stage in an all-new London-made co-production with Crow’s Theatre and directed by Cherissa Richards, January 20 to February 7.
Considered one of the most exciting scripts to grip modern theatre, Primary Trust is one of those stories that grabs you and whisks you into the styled yet realistic, gritty yet beautiful world of a Tiki Hut regular, Kenneth. “We are taken back to a recent time, but a time before smartphones, in North America, where connection wasn’t merely a click away and interpersonal connection took some work,” says Rachel Peake, Artistic Director of the Grand Theatre. “We lean into how Eboni Booth explores loneliness and the complicated need for connection.”
(Pictured: Rachel Peake, Artistic Director of the Grand Theatre.)
“This is my favourite play that I read for the season, and now I am so excited to get to share it with London audiences,” says Peake. “Full of magic realism, humour, and heart, Primary Trust lets you walk in the shoes of someone else in a way that unlocks the world a little differently.”
For the past several months, Booth’s script has been in the hands of theatre artists recruited from across Canada, including director Cherissa Richards and designers Julie Fox (set), Rachel Forbes (costume), Imogen Wilson (lighting), and Thomas Ryder Payne (sound). Together, they are building “a world that feels like ours, that looks like reality,” explains Peake, “but in fact, is not bound by the laws of physics or time and lives inside an active idea.”
(Pictured: Cherissa Richards, Director of Primary Trust. Photo: Kristen Sawatsky.)
One ‘happy hour’ at a time, the character of Kenneth will unfold on the stage, seemingly set with a life-size diorama. “The characters will step out into a frozen photograph and bring it to life. Surreal, fragmented buildings, slices of evocative settings, signalling to the audience that we are only being let in on part of the story – the rest is in your imagination,” says designer Fox. “There is a tumbleweed feel of boarded-up storefronts and empty spaces that resonates as we continue to come back from the pandemic in our own cities. In this kind of desolate, urban landscape – so typical across North America – we still manage to find beauty and connection, and the unexpectedness makes it that much more special.”
(Pictured: Durae McFarlane as Kenneth in Primary Trust. Photo: Mai Tilson.)
‘Extraordinary, ordinary’ Kenneth is played by Durae McFarlane, who is making his Grand Theatre debut after a series of theatre and TV roles. Musician and actor Lawrence Libor will perform keys on stage, adding a live soundtrack to the show. Libor is known to Grand audiences, having previously been in last season’s smash-hit musical Waitress, as well as the three-times-extended run of Cabaret, which set a record as the longest-running show on the Grand’s studio stage. Peter N. Bailey (Stratford, Canadian Stage) also makes a much-anticipated return to the Grand, after performing in August Wilson’s Fences (2018/19). The cast also includes Ryan Hollyman (Soulpepper, National Arts Centre, Mirvish) and Khadijah Roberts-Abdullah (Stratford Festival), who are both making their Grand Theatre debuts.
Creative Team
Cherissa Richards – Director
Julie Fox – Set Designer
Rachel Forbes – Costume Designer
Imogen Wilson – Lighting Designer
Thomas Ryder Payne – Sound Designer
Vanessa Spence – Assistant Director
Kai-Yueh Chen – Stage Manager
Emma Jo Conlin – Assistant Stage Manager
Finnley O’Brien – Apprentice Stage Manager
Cast
Peter N. Bailey – Bert
Ryan Hollyman – Clay / Sam / Le Pousselet Bartender
What: The Grand Theatre presents Ebobi Booth’s Pulitzer Prize-winning play, Primary Trust.
When: January 20 to February 7, 2026.
Where: Grand Theatre’s Spriet Stage, 471 Richmond Street, London, ON
Tickets: Tickets can be purchased online at grandtheatre.com, by phoning the Box Office at 519.672.8800, or by visiting the Box Office in person at 471 Richmond Street (weekdays from 9:00 a.m. to 5:00 p.m., and Saturdays from 11:00 a.m. to 3:00 p.m.).
The Voices of Broadway Show Choir has been entertaining London area audiences since 2013. The Beat Magazine conducted the following Q&A Session with Artistic/Musical Director Julie Pietrangelo in advance of the choir’s Show Stoppers concert on January 17 at the Joanne and Peter Kenny Theatre at King’s College. The Interview has been edited for clarity.
(Pictured: The Voices of Broadway Show Choir Artistic/Musical Director Julie Pietrangelo.)
Q. When was the choir founded? By whom, and why? How did the name The Voices of Broadway Show Choir come about?
We were founded in 2013. I wanted to start a show choir and talked to several people whom I led as singers before, and they were with me. So, we got together and figured out how to make it work. We brainstormed names, put them on a board, and voted. By process of elimination, we decided upon the name The Voices of Broadway Show Choir.
Q. What sets your group apart from the other London area choirs?
I think the fact that we’re a show choir. I don’t think there’s any other show choir in London, per se. We don’t just stand on risers and sing holding music. Our shows include acting and dancing. It’s just bigger.
Q. Who are the facilitators/administrators of the choir? Backgrounds? Does the choir have a Board of Directors?
We do not have a board of directors. We have what we call the lead team of four people who are elected by the membership. They look after all the administration and running of the choir and so on. I’m heavily involved and sit on the lead team as well.
Q. Does the choir have a Mission or Statement of Purpose?
We are a non-professional show choir with high standards and high entertainment value. Our mission is to present a well-balanced program of traditional choral singing, along with choreography, staging, costumes, special effects, and props.
Q. How many members does the choir have at this time? Can you give me some details about the range of experience, backgrounds, and ages of choir members?
Right now, we have twenty-four members, but we have had as many as forty. We take people from all walks of life. We have people who have music degrees and have taken voice lessons. We also have people who have never sung in a choir before. Choir members must be eighteen years of age. We have had members in their eighties.
Q. How does one become a member of The Voices of Broadway Show Choir?
We have an audition process. Candidates are asked to bring a prepared song and do a vocal audition. I test the range and their sight-reading ability and decide from that. They also go through an interview process. We do a dance assessment, although candidates aren’t rejected if they have zero dance experience or limited abilities.
Q. Could you give me an idea of the choir’s repertoire?
Our repertoire is all drawn from Broadway musicals.
Q. Does the choir perform in one venue or move around?
We do two shows a year. In January, we perform at the Joanna and Peter Kenny Theatre at Western’s King’s College. And in the spring, in either May or June, depending on available dates, we hold our year-end show at Wolf Performance Hall.
Q. Can you give our readers an idea of what to expect if they attend your January 17th Show Stoppers concert?
Show Stoppers presents many of Broadway’s most famous songs. Audience members will know a lot of the music and the shows that they come from. The concert is highly entertaining, and it just has that whole element of familiarity.
Q. Is there anything else you think readers should know about The Voices of Broadway Show Choir?
We’re always looking for new members. In fact, we have auditions on January 21st. People can register for those at any time now. And, of course, we’re always available for hire. We have a public website where people can find out more information about the choir and look at some of our past performances. We’re always looking for sponsors, too. If you are interested in becoming a sponsor, we offer several benefits. Information about how to become a sponsor can be found on our website.
London Community Players present: Deathtrap By Ira Levin Directed by James Patterson Produced by Anita Goodfellow
A thriller about thrillers—and the deadly games writers play.
Sidney Bruhl’s Broadway career is failing fast… until a student sends him the perfect script. What follows is a suspenseful, twist-filled rollercoaster of betrayal, manipulation, and murder. Who’s writing the final act—and who won’t live to see it?
Twists. Turns. Typewriters.
The most diabolically clever thriller ever staged.
Miracle on 34th Street, The Play – Dec 4-14, 2025 Adapted by Mountain Community Theatre from the novel by Valentine Davies. Based upon the Twentieth Century Fox motion picture Miracle on 34th Street.
“This is a tale that we want to believe in, that creates a world we seem to desperately desire, free of the blatant commercialism that surrounds us, where love and decency and generosity of spirit are their own rewards. What we want Christmas to be all about, really.” So writes the Santa Cruz Sentinel of this most heartwarming holiday story. By chance, Kris Kringle, an old man in a retirement home, gets a job working as Santa for Macy’s. Kris unleashes waves of goodwill with Macy’s customers and the commercial world of New York City by referring parents to other stores to find exactly the toy their child has asked for. Seen as deluded and dangerous by Macy’s vocational counsellor, who plots to have Kris shanghaied to Bellevue Psychiatric Hospital, Kris ends up in a court competency hearing. Especially at stake is one little girl’s belief in Santa. In a dramatic decision, the court confirms Kris as the true Santa, allowing Susan and countless other children to experience the joy of childhood fantasy.
Princess Ave Playhouse, 40 Princess Ave, St. Thomas, ON.
What:Disney’s Frozen:The Broadway Musical, presented by The Grand Theatre Where: Spriet Stage at the Grand Theatre When: November 18th to January 4th, 2026 Tickets:Disney’s Frozen | The Grand Theatre
Original Kids Theatre Company presents Between the Lines, Jr.
December 5-7.
Between the Lines is an empowering and enchanting story for anyone who has struggled to find their place in the world. An outsider in a new town and a new school, Delilah seeks comfort in the pages of her favourite book, where she feels heard and understood by the handsome Prince Oliver. But as the lines between fantasy and reality begin to blur in extraordinary ways, Delilah realizes her dreams in the real world are worth fighting for.
Because this ain’t your Granddad’s Christmas Benefit Show!
On Sunday, December 7th, the Palasad Socialbowl will come alive with the 13th Annual 63 Monroe Toys for Tots extravaganza. This benefit concert will feature 13 of London’s premier Punk and Rock n Roll acts.
This isn’t just a show — it’s a movement. Every beat, every note, every cheer will help support 2025’s Toys for Tots Christmas drive. Expect dazzling performances, surprise collaborations, and an afternoon you’ll not soon forget.
Admission is one unwrapped toy or a monetary donation @ the door, so mark this day on your social calendar, grab your friends and family and head out to the Palasad and be part of something bigger than music.
The show starts at 1pm, and the last band winds it all down by 9pm. Not only is there a non-stop afternoon of music, but the venue will also feature a large raffle table, giveaways, and more.
Here is the lineup of the talent that has volunteered their bands for this all-out rockin’ event. It’s a Who’s Who of the local scene, including the hosts, 63 Monroe, Stepsisters, Disgusteen, Tuned Out, Limits of Approach, Dolly Mix, Stunning, Doppelgänger, Snede, Face Lift, Burnt Reynolds, All But Six, Def Bombs, and Turbo Tusk!
Stop by for an hour to cheer your favourite local act or make an afternoon of it and be home in bed by 10pm knowing you helped support a great cause.
Let’s make the 2025 edition of Toys for Tots the best yet!
For more information about the show, contact Steven R Stunning at stunningsrb@gmail.com
IF YOU GO:
What: London Symphonia presents The Sounds of Home.
When: Saturday, December 6, 2025, at 7:30pm.
Where: Metropolitan United Church, 468 Wellington Street, London, ON.
This weekend, After Midnight is back at The Wortley Roadhouse with special guests Jessica Blum on vocals and Anthony Borek on Bass, Friday night, McKenna Langdon on vocals and Ry Guy from Journeymen on Bass, Saturday night. Hope to see all our favourite people on the dance floor.
FRIDAY DECEMBER 5TH London Music Hall, SummerCamp Productions, Virgin Radio London, and Fresh Radio present SHAWN DESMAN – Back To Life Tour One of Canada’s most iconic pop and R&B voices, Desman has a legacy of Platinum hits, #1 singles, and unforgettable performances. From winning JUNO, MMVA, and SOCAN Awards to shaping a generation of Canadian music, his impact is undeniable. Now, after a massive 2023 comeback and 2024 smash hits like Maniac and Body, he’s ready to light up the stage once again
Christmas In The Village, Saturday, December 6, Wortley Village, London, ON.
Light up the holidays in Victoria Park, starting tonight at 6 p.m. Enjoy live local music, food trucks, and a complimentary 360° photo booth.
@OfficialFarmBoy will also be onsite, offering free hot cider samples and collecting non-perishable food donations in support of the London Food Bank.
Kids, don’t forget to stop by Santa’s Mailbox to send your holiday wish lists to the North Pole.
Special guest John Davidson, founder of Jesse’s Journey, joins us for the ceremonial flip of the switch at approximately 6:55 p.m., illuminating over 100,000 lights and filling the park with holiday magic!
The Palace Theatre’s presentation of Deathtrapby Ira Levin, directed by James Patterson and produced by Anita Goodfellow, offers an entertaining evening of twists, tension, and clever stage trickery, though not without a few bumps along the way. The play follows Sydney Bruhl, a once-successful playwright desperate for another hit. When a promising script lands in his hands, temptation and ambition collide in ways that blur the lines between collaboration, manipulation, and survival. It’s a clever premise that thrives on surprises, so the less said, the better. (You will find no spoilers here!)
I found myself torn on this production, caught somewhere between enjoying its strengths and feeling like something essential wasn’t quite landing. Much of Deathtrap’s charm comes from its blend of suspense and dark humour, yet the comedic elements, which should give the script its bite, didn’t always come through in the delivery. This left certain moments feeling flatter than intended.
(Pictured: David Lamari as Sydney Bruhl. Photo Credit: Ross Davdson.)
David Lamari gives a commendable performance as Sydney Bruhl. He steps into the role wholeheartedly, bringing a natural ease and believability that anchors the show. Lamari is a talented performer, and his commitment to the character stands out, even when some scenes around him falter. His delivery had great strength and presence, though at times he needed more volume.
(Pictured: Julia Askerov as Helga Ten Drop. Photo Credit: Ross Davidson.)
Julia Askerov, as the eccentric psychic Helga Ten Dorp, brings good energy to the stage and earns some of the play’s lighter moments. However, her dialogue was at times difficult to understand due to her character’s intended thick accent. In contrast to Lamari, her projection was strong, but the clarity wasn’t always there.
In fact, aside from Askerov, the cast as a whole could benefit from stronger vocal projection. There were stretches where dialogue became muddy or simply too quiet, causing important lines to get lost. Combined with occasional holes in the comedic parts of the performances, this affected believability in key moments.
(Pictured: Porter Milgrim and Sydney Bruhl. Photo Credit: Ross Davidson.)
On the technical side, the production shines. The set, designed and constructed by Eric Bernard, David Long, and Heather Meadows, is fantastic. Immersive, clever, and perfectly suited to the play’s tone. Lighting and sound, executed by Rob Coles and Mariann Sawyer, respectively, were executed perfectly, enhancing tension and atmosphere without overpowering the action. The costume designs by Aiden Thomas and Lorna McKenzie were well done and nicely suited to the characters.
Overall, Deathtrapis an enjoyable watch with moments of genuine intrigue and visual excellence. It is a solid production that entertains, even if some elements fall short. Even with some missed comedic beats and moments that could use stronger projection, the production’s solid performances and outstanding technical work make it an engaging ride. It’s a show that reminds you why live theatre is irresistible: You never quite know what’s coming next. And Deathtrapplays that game very, very well.
IF YOU GO:
What: Ira Levin’s Deathtrap
Where: The Palace Theatre Arts Commons, 710 Dundas Street, London, ON.
Based on the story “The Greatest Gift” by Philip Van Doren Stern, It’s a Wonderful Life: A Live Radio Play is adapted by Joe Landry. The play is directed by Liam Grunté, with Original Music and Musical Arrangements by Kevin Connors
Joe Landry’s adaptation presents the story in a new and innovative way. This beloved holiday classic comes to life as a live 1940s radio broadcast. An “All Star” cast gathered on Christmas Eve 1948 at WBFR radio station, only to find out that their foley artist was a ‘no show’ and they needed to create their own sound effects using the materials that were set up on the prop table. The 1940s live radio show format offers the audience an opportunity to experience this classic tale as well as see how the magic of sound effects is created.
Brilliantly acted by this versatile ensemble cast, this unique production of It’s a Wonderful Life is sure to captivate audiences as it regales the classic Christmastime story in a new and entertaining presentation.
(Pictured: It’s A Wonderful Life, A Live Radio Show in rehearsal.)
IF YOU GO:
What: Liam Grunté Theatre & FPT London present It’s A Wonderful Life, A Live Radio Show
When: November 26, 27, 28 and 29 at 7:00 p.m. Saturday, November 29 at 2:00 p.m.
Where: Grand Theatre – Auburn Stage – 471 Richmond Street, London, ON
(The Greatest Gift is used by permission of The Greatest Gift Corporation. It’s A Wonderful Life, A Live Radio Show, is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service collection. (www.dramatists.com)
by Richard Young, Publisher & Content Manager, The Beat Magazine
Silver Spotlight Theatre, London’s group for performers aged 55 and up, presents its fourth musical, Showtune, celebrating Jerry Herman’s work this December.
Like the group’s previous shows – Babes In Arms (2023), Grease (2024), and Into The Woods (2024) – it is expected to sell out.
The Beat Magazine spoke with Showtune’s Director and Silver Spotlight Theatre co-founder, Rick Smith, about the show and the group’s move towards incorporating itself as a not-for-profit organization. The following Q&A Interview has been edited for length and clarity.
(Pictured: Rick Smith, Showtune director and co-founder of Silver Spotlight Theatre.)
Q. Could you review for our readers how, when, why, and by whom Silver Spotlight Theatre came into being?
Just before COVID locked us all safely away at home, Art Fidler, now affectionately called the ‘grandfather’ of Silver Spotlight Theatre, approached me, the then President of Musical Theatre Productions, about an idea of establishing a wing of MTP dedicated to people in an older demographic (55+). We met with Kathy Smith, who directed us to the Ontario Government Grant offerings to launch this untested idea. We were fortunate enough to receive funds from their Seniors Living Grants. Mary-Ellen Willard, one of Art’s former students, offered the services of her company, AdHome Creative, to create a new logo and support the visuals used for our production. From there, we floored it, and away we sped toward the big reveal. Art and I took the lead, directing the first production, Babes In Arms, with Kelly Holbrough producing, Janice Wallace as Musical Director, and Candy Robinson as Stage Manager.
Q. What role does SST play in London’s theatre community?
There are several outlets for London youth to gain theatre experience through Original Kids, London Youth Theatre Education (LYTE), Arts 4 All Kids, and more. For individuals 20-54, the Palace, Musical Theatre Productions, Odessa Company and others offer lots of opportunities to get involved in community theatre. That leaves interested parties in the 55+ age range very few opportunities, especially on stage. Unless a script calls for a grandparent, the ability to learn, grow and get engaged is minimal. Silver Spotlight Theatre offers those in this demographic the opportunities that are otherwise limited. It has provided a creative outlet and a place to learn and experiment in theatre craft. More than that, it has built a solid connection for those who get involved in our productions. In post-retirement life without external interactions, it is easy to sit in front of the TV and wait. Silver Spotlight Theatre has brought those people out of their armchairs and helped them join a really connected community with regular gatherings, parties, brunches and friendships. Through the arts, seniors get to learn, create, move and connect.
Q. Can you tell me a bit about SST’s previous three sold-out productions?
Babes In Arms (2023) was the first production. It was a coming-of-age story where seniors were cast in roles of minors trying to prove themselves by “finding a barn and putting on a show”. It was filled with a lot of American Songbook numbers written by Lorenz Hart (The Lady is a Tramp, Where or When, My Funny Valentine, and more).
That was followed by the ever-popular Grease (2024), where again seniors were performing as teenagers from the ‘50s and singing the memorable tunes from the show, Greased Lightning, There Are Worse Things I Could Do, We Go Together and more.
To mix it up a bit, the third production was Stephen Sondheim’s Into the Woods (2024), where we turned our seniors into fairy tale characters and really tested them by performing it In the Round, which was a new concept for many of the cast.
Finally, our fourth and final production under the MTP umbrella is Showtune, a musical review of the words and lyrics of the great Jerry Herman. Again, a new vehicle for our dedicated, hardworking teams. There is no time to catch their breath in this action-packed song and dance show
Q. Can one talk of a Silver Spotlight Theatre troupe, or are new cast and crew members added to each production?
While there are several returning cast and crew members from each show, we have had many new faces, as well as new as 55+ can be, come out to audition and reach out to get connected. We have people in our audience who meet with us during intermission or at the end of a show, asking how they can get involved. Within each show, this troupe grows and inspires new folks to try something new or re-stimulates the passion for theatre from years gone by. A lot of our members are first-time performers or backstage helpers. Some come back to the stage for the first time since high school, while others have transitioned from the standard community theatre stage to ours, bringing their experience with them to share with others in the group.
Q. Putting bums in seats is always a challenge for community theatre groups. What explains SST’s success?
I think what has made Silver Spotlight Successful is, in part, our affiliation with MTP as a brand endorsement. MTP has a long history within the London community, and with that, it brings a following. But it is also unlike that of the youth programming. Every parent and grandparent wants to see little Suzie or little Tom on the stage. SST brings out the grown children and grandchildren of those included in the production. It is an extension of what we call our family. Once they see what we can do, word of mouth spreads, and it brings in others who want to see what it is all about. There is a sense of curiosity that comes from this kind of niche group.
Q. What can people expect to see/hear if they attend Showtune? Any highlights you would like to cite?
Audiences will be thoroughly entertained with Showtune. Jerry Herman wrote the songs from some of Broadway’s biggest hits like Hello Dolly, Mame, La Cage Aux Folles and more. He was a storyteller with his music, but not as technical as Sondheim or Lloyd-Webber. People can hum along with his tunes. They consist of light-hearted and uplifting lyrics, and even the songs that have a more sombre feel have a positive message and always look on the bright side of life. The cast has grown to love these tunes and sing and dance with all their heart. I challenge audience members not to tap their toes or hum a familiar tune.
Q. Up until now, SST has operated as a branch of London’s Musical Theatre Productions. What precipitated SST’s decision to incorporate as a stand-alone not-for-profit organization?
With each production, those involved in SST productions have learned and grown. We are incredibly grateful to MTP for taking the chance on this untested concept. Without the Board’s approval and encouragement, there wouldn’t be an SST company. That said, the learnings and the growth over the past four seasons made the group realize that having the autonomy to make its own decisions was needed. We felt it was time to ‘grow up’ and take the lead for itself. There are life and work experiences that the SST followers bring with them, whether it is project management, people management, education delivery, or finance finesse. These are the skills included in this troupe that make it easy to make appropriate decisions that we can own as our own.
Q. What are the advantages/benefits of SST becoming a not-for-profit organization?
It was important for the inaugural Board to obtain a charity status. We realized under MTP that status allows for greater opportunities to obtain sponsorship and private donations. Getting a tax slip for their support of our organization makes it far more attractive for donors and sponsors to contribute. It also allows us the opportunity to be eligible for corporate and government grants. Funding is a very important element for starting any new venture, and we rely on those sponsorships and private donations to help get things off the ground. MTP was the benefactor of our previous productions as they flipped the bill to pay for our shows, so we are starting out from ground zero. The ability to offer tax slips as deductions on income taxes gives us a wider range of avenues to achieve the goal of capturing the attention of those willing to support our organization.
Q. Has an interim Board for the new group been appointed?
Yes. This was very important to the small committee working with MTP to establish longer-term visions for SST. In order to incorporate and gain charitable organization status, a Board of Directors needed to be appointed from that small group of core SST members. We elected the key board members to get the ball rolling. It was important to provide some experience to these positions to begin to establish the credibility of the Board. With our combined 60+ years of community theatre experience, I was appointed President along with Toni Wilson as Vice President. A Secretary needs to be very organized with the ability to be concise yet thorough with communications, so Cathy Weaver, a retired head of HR, was unanimously elected to that position. We knew we needed an experienced manager of finance to take on the position of Treasurer. Alex Gow has the appropriate designations and experience to ensure the appropriate accounting and tax filing is complete. And there is no need for a Treasurer without funds, so Susan McKone and Tracey Andrus, two very connected and imaginative women, were appointed to Fundraising and Sponsorship. Dan and Margo Surman hold seats as Members at Large and, although they do not have a designated portfolio, their contributions and support for these different commitments will be invaluable.
Q. What are the next steps for Silver Spotlight Theatre?
SST must establish a foundation, including but not limited to seeking sponsorship and donations, identifying a rehearsal space, and gathering SST supporters to build a strong foundation. We want to engage our members by including them in the process through committee work, brainstorming, leveraging resources and contacts to help get us off the ground. Our first official act will be holding a meeting for anyone interested in the future of SST on January 13, 2026. The time and location will be announced once we have secured a venue. Oh, did I mention we are starting at ground zero?
Q. Is there anything else you think our readers should know about Silver Spotlight Theatre and/or Showtune?
Although Silver Spotlight Theatre has stepped into the light as its own entity and, in a way, is starting anew, our core values and goals remain the same. We are still committed to developing quality performances, granting opportunities to develop performance and designer programming for education and skill development, and the inclusion of age-appropriate members who are interested in being part of our community. This is the first of our building blocks, and we will be looking to our membership to assist with brainstorming ideas to raise funds for our three, five and ten-year strategy plans. This is the first of many steps in achieving and maintaining the community that has become Silver Spotlight Theatre.
Cast:
Angie Jansen
Barb Currado
Carol Taylor-Wilks
Dan Surman
Deborah Mitchell
Holly Kinchlea Brown
Jayne Terry
Jensen Caughlin
Joanna Makinson
Karen MacDonald
Karon Dean
Lesley Andrew
Lisa Jones
Margarita Sanchez-Favro
Maria Marsh
Mitch Zimmerman
Rachelle Peterson
Rick Smith
Rob Hibbs
Steve Hobbs
Susan Dean
Susan McKone
Therese Hibbs
Creative Team:
Director: Rick Smith
Assistant Director: Nick Banks
Musical Director: Jeff Holbrough
Choreographer: Grant Statchuk
Producers: Mike Jewison and Candy Robinson
Stage Manager: Teri May
Assistant Stage Manager: Tracey Andrus
IF YOU GO:
What: Silver Spotlight Theatre presents Showtune, a Celebration of Jerry Herman’s Words & Music.
(Showtune is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com)
(NOTE: The videos embedded in this Interview are courtesy of Brian Ince.)
The Beat Magazine 2025 